K to 12 BASIC EDUCATION CURRICULUM

SENIOR HIGH SCHOOL – ACADEMIC TRACK

Baitang: 11/12 Semestre: Unang Semestre
Pamagat ng Kurso: Creative Writing/Malikhaing Pagsulat Kabuuang bilang ng Oras / Semestre: 80 oras/ semestre
Pang-unang Kahingiang kurso: 21st Century Literature from the Philippines and
the World

Deskripsyon ng Kurso: Lilinangin ng kurso ang kasanayang praktikal at malikhain sa pagbasa at pagsulat; ipauunawa at tatalakayin ang mga pundamental na teknik sa
pagsulat ng maikling kuwento, tula, at dula na ginamit ng mga kilalang manunulat ng nabanggit na mga anyo. Tutuon ang klase sa matalas na pagsusuri sa mga teknik at
worksyap ng mga burador ng mga mag-aaral sa lalo pang ikaiinam ng kanilang mga manuskrito. Matutuhan ng mga mag-aaral ang pagsasanib ng inspirasyon at rebisyon at
ang malalim na pagkaunawa sa mga anyo.

PAMANTAYANG PAMANTAYANG KASANAYANG

NILALAMAN CODE
PANGNILALAMAN PAGGANAP PAMPAGKATUTO
Unang Markahan
Ang mag-aaral ay…
1. Malikhaing Pagsulat Nauunawaan ng mag-
Ang mag-aaral ay… HUMSS_CW/MP11/12-Ia-
1.1. Makathaing Pagsulat vs. teknikal / aaral ang… 1. natutukoy ang pagkakaiba ng
b-1
academik / at iba pang anyo ng makathaing pagsulat sa iba
pagsulat pang anyo ng pagsulat
1.2. Karanasang batay sa pagbuo ng imahe, 2. nakahuhugot ng mga ideya HUMSS_CW/MP11/12-Ia-
Pandama/Pagsulat batay sa diksyon, mga tayutay mula sa mga karanasan b-2
nakikita, naaamoy, naririnig, at pag-iiba-iba makakasulat ng maiikling
talata o mga vignette na 3. nagagamit ang wika upang
nadarama, at nalalasahan (variations) ng wika
gumagamit ng mag-udyok ng mga HUMSS_CW/MP11/12-Ia-
1.3. Lengguwahe/wika
diksyon,pagbuo ng imahe, emosyunal at intelektwal na b-3
a. Paggamit/pagbuo ng Imahen
mga tayutay at mga tugon mula sa mambabasa
b. Mga Tayutay
espesipikong karanasan 4. nagagamit ang pagbuo ng
c. Diksyon
imahe, diksyon, mga tayutay, HUMSS_CW/MP11/12-Ia-
1.4. Mga Halimbawang teksto ng mga
at mga espesipikong b-4
batikan/kilalang lokal at
karanasan
banyagang manunulat
5. nakapagbabasa bilang
manunulat nang may HUMSS_CW/MP11/12-Ia-
kamalayan sa sining ng b-5
paglikha
6. Pagbasa at Pagsulat ng Tula* tula bilang isang anyo makasusulat ng maikli at 1. natutukoy ang iba’t ibang
6.1. Mga Elemento/Sangkap ng tula at nasusuri ang mga masining na tula elemento/sangkap, mga HUMSS_CW/MP11/12c-f-
a. Mga Esensyal na elemento/sangkap at teknik, at kagamitang 6
Elemento/Sangkap teknik nito. pampanitikan sa panulaan

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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK
PAMANTAYANG PAMANTAYANG KASANAYANG
NILALAMAN CODE
PANGNILALAMAN PAGGANAP PAMPAGKATUTO
a.1. Tema
a.2. Tono 2. natutukoy ang mga
b. Mga Elemento ng mga Tiyak HUMSS_CW/MP11/12c-f-
espesipikong anyo at
na Anyo 7
kumbensyon sa panulaan
b.1. Kumbensyunal na Tula
(halimbawa: maiikling tulang
Tagalog tulad ng tanaga at 3. nakagagamit ng piling mga
diona; haiku; soneto) sangkap sa panulaan sa HUMSS_CW/MP11/12c-f-
-rima/tugma at medida/sukat maiikling ehersisyo ng 8
-metapora pagsulat
b.2. Malayang Taludturan
-the line and line break
-enjambments
-metapora 4. nakatutuklas ng mga teknik HUMSS_CW/MP11/12c-f-
c. Iba pang eksperimental na sa pagsulat ng tula 9
teksto
c.1. typography
c.2. genre-crossing texts (e.g.
prose poem, performance
poetry, atbp.) 5. nakasusulat ng tula na
d. Tono
gumagamit ng iba’t ibang HUMSS_CW/MP11/12c-f-
2.3. Teknik at kagamitang sangkap,mga teknik, at 10
pampanitikan (Mga
kagamitang pampanitikan
halimbawang teksto ng mga
batikan/kilalang lokal at
banyagang makata)
3. Pagbasa at Pagsulat ng Maikling Kuwento* maikling kuwento makasusulat ng isang
3.1. Mga Elemento/Sangkap ng bilang isang anyo at tampok na eksena/tagpo
Maikling Kuwento nasusuri ang mga para sa isang maikling
a. Tauhan elemento/sangkap at kuwento
teknik nito 1. natutukoy ang iba’t ibang
b. Punto de bista
elemento/sangkap at
b.1. unang panauhan/1st- HUMSS_CW/MPIg-i-11
kagamitang pampanitikan sa
person POV (major, minor, or
maikling kuwento
bystander)
b.2. pangalawang panauhan/
2nd-person POV
b.3. pangatlong panauhan/

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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK
PAMANTAYANG PAMANTAYANG KASANAYANG
NILALAMAN CODE
PANGNILALAMAN PAGGANAP PAMPAGKATUTO
3rd-person POV (objective,
limited omniscient, omniscient)
c. Banghay
c.1. linyar
c.2. modyular/episodik 2. natutukoy ang iba’t ibang
c.3. mga tradisyunal na moda (modes) ng maikling HUMSS_CW/MPIg-i-12
bahagi: eksposisyon, papataas kuwento
na antas ng aksyon,
kasudulan/rurok, kalakasan,
resolusyon (denouement)
d. Tagpuan at kaligiran
d.1. panahon at lugar
d.2. kultural, sosyolohikal,
pulitikal, religihiyoso, atbp.
milieu
d.3. sensibilidad na tumutungo 3. nakasusulat ng dyornal at
sa mga espesipikong moda maiikling ehersisyo na
(modes) gumagamit ng mga HUMSS_CW/MPIg-i-13
e. Tunggalian pangunahing elemento ng
f. Ironiya maikling kuwento
f.1. berbal
f.2. sitwasyunal
f.3. dramatik
g. Tema
f.1. aral
f.2. dramatic premise
f.3. pag-unawa sa tunay na
kalikasan ng isang sitwasyon
(insight) 4. nakasusulat ng isang maikling
3.2. Mga Teknik at Kagamitang eksena/tagpo na gumagamit
Pampanitikan ng iba’t ibang elemento, HUMSS_CW/MPIg-i-14
a. Panagano (Mood) /tono teknik at kagamitang
b. Pahiwatig ng magaganap pampanitikan
(Foreshadowing)
c. Simbolismo at motif
3.3. Mga halimbawang teksto ng
mga batikan/kilalang lokal at
banyagang kuwentista
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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK
PAMANTAYANG PAMANTAYANG KASANAYANG
NILALAMAN CODE
PANGNILALAMAN PAGGANAP PAMPAGKATUTO
IKALAWANG MARKAHAN
4. Pagbasa at Pagsulat ng Dula (iisahing- dula bilang isang anyo makabubuo ng isang 1. natutukoy ang iba’t ibang
yugto) * at nasusuri ang mga tagpo/eksena para sa isang elemento/sangkap, teknik at
HUMSS_CW/MPIj-IIc-15
Mga Elemento/Sangkap ng Dula elemento/sangkap nito iisahing-yugtong dula na kagamitang pampanitikan ng
a. Tauhan maisasatanghalan dula
b. Tagpuan 2. nauunawaan ang
c. Banghay intertekstwalidad bilang isang HUMSS_CW/MPIj-IIc-16
d. Diyalogo teknik ng dula
4.1. Mga Teknik at Kagamitang
Pampanitikan 3. nakabubuo ng
a. Intertekstwalidad tauhan/tagpuan/bang-hay
HUMSS_CW/MPIj-IIc-17
b. Konseptwalisasyon ng Metodo para sa iisahing- yugtong
o Paraan dula
4.2. Mga Halimbawang teksto ng 4. nagagamit ang iba’t ibang
mga batikan/kilalang lokal o metodo o paraan sa
banyagang mandudula pagtatanghal nang HUMSS_CW/MPIjc-18
nagsasaalang-alang sa
binubuong iskrip
5. nakasusulat ng maiikling
ehersisyo patungkol sa
tauhan, diyalogo, banghay, at HUMSS_CW/MPIj-IIc-19
iba pang sangkap/elemento
ng dula
6. nakasusulat ng isang
tagpo/eksena para sa
iisahing-yugtong dula na
gumagamit ng iba’t ibang HUMSS_CW/MPIj-IIc-20
elemento/sangkap, teknik, at
mga kagamitang
pampanitikan
5. Ang malikhaing akda sa pampanitikan at /o iba’t ibang makabubuo ng 1. nailulugar ang malikhaing
sosyo-pulitikal na konteksto oryentasyon ng craft essay ukol sa personal teksto sa pampanitikan at /o HUMSS_CW/MPIIc-f-21
malikhaing pagsulat at malikhaing proseso na sosyo-pulitikal na konteksto
malay na gumagamit ng 2. naipapamalas ang kamalayan
piniling oryentasyon sa at sensitibidad sa iba’t ibang
HUMSS_CW/MPIIc-f-22
malikhaing pagsulat oryentasyon ng malikhaing
pagsulat

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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK
PAMANTAYANG PAMANTAYANG KASANAYANG
NILALAMAN CODE
PANGNILALAMAN PAGGANAP PAMPAGKATUTO

3. nakasusulat ng craft essay HUMSS_CW/MPIIc-f-23

6. Pinal na Gawain/Final output** 1. nakabubuo ng pangkatang

Maaaring pumili ang mag-
blog para sa tula at/o
aaral ng alinman sa
maikling kuwento na HUMSS_CW/MPIIg-j-24
sumusunod:
gumagamit ng angkop na
1. Pagdidisenyo ng
ICT/mga anyong multimedia
pangkatang blog
2. nagagamit ang iba’t ibang
para sa tula at
moda ng publishing media
maikling kuwento HUMSS_CW/MPIIg-j-25
para sa mga manuskrito
2. Bumuo ng
antolohiya/koleksyo
n ng mga 3. nauunawaan ang posibilidad
tula/isang maikling ng mga intertekstwal na anyo HUMSS_CW/MPIIg-j-26
kuwento o iskrip
para sa iisahing- 4. nakasusulat ng
yugtong dula na antololohiya/koleksyonng
maitatanghal mga tula, isang maikling HUMSS_CW/MPIIg-j-27
3. Bumuo ng kuwento, o iskrip para sa
hypertext literature iisahing- yugtong dula
*Para sa tula, maikling kuwento, at dula, iminumungkahi ang worksyap.
**Mahalaga ang pagkikritika sa sariling likha/akda ng mag-aaral, gayundin ang pagkikritika ng kamag-aral para sa rebisyon na kailangan naman para sa pinal na output.

Paalala: Iangkop ang bilang ng oras/panahon sa mga aralin/paksa ayon sa kapasidad ng mag-aaral.

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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK

GLOSSARY
A web log: A website containing short articles called posts that are changed regularly. Some are written by one person expressing
Blog
his/her own opinions, interest, and experiences, while others are written by many different people.
An essay that discusses matters of creative construction that may include reflections on writing strategies, genre elements, and
Craft essay
contextual influences.
A type of story in which the protagonist is initiated into adulthood through knowledge, experience, or both, often by a process of
disillusionment. Understanding comes after the dropping of preconceptions, a destruction of a false sense of security, or in some way the
loss of innocence. Some of the shifts that take place are the following: ignorance to knowledge, innocence to experience, false view of
world to correct view, idealism to realism, and immature responses to mature responses.
(Literary Terms list EETT.pdf, from www.schenectady.k12.ny.us/.../literacyterms/Literary%20Terms%20list%20...); novel in which an
Coming-of-age story adolescent protagonist comes to adulthood by a process of experience and disillusionment. This character loses his or her innocence,
discovers that previous preconceptions are false, or has the security of childhood torn away, but usually matures and strengthens by
this process. Examples include Wieland's Agathon, Herman Raucher's Summer of '42, Ray Bradbury's Dandelion Wine, Joyce's A Portrait
of the Artist as a Young Man, and Jane Austen's Northanger Abbey. The most famous examples are in German, in which a tale in the
genre is called a Bildungsroman or a Erziehungsroman. Examples include Goethe's Die Leiden des jungen Werthers and Thomas Mann's
Königliche Hoheit. (http://web.cn.edu/kwheeler/lit_terms_C.html)
The selection of words in a literary work. A work's diction forms one of its centrally important literary elements, as writers use words to
convey action, reveal character, imply attitudes, identify themes, and suggest values. We can speak of the diction particular to a
Diction character, as in Iago's and Desdemona's very different ways of speaking in Othello. We can also refer to a poet's diction as represented
over the body of his or her work, as in Donne's or Hughes's diction.
(http://highered.mcgraw-hill.com/sites/0072405228/student_view0/poetic_glossary.html)
Also known as figurative language, it creates figures (pictures) in the mind of the reader or listener. These pictures help convey the
meaning and more vividly than words alone. We use figures of speech in “figurative language” to add colour and interest, and awaken
Figure of speech the imagination. Figurative language is everywhere, from classical works like Shakespeare’s and the Bible, to everyday speech, pop
music, and television commercials. Figurative language means something different from (and usually more than) what it says on the
surface.
The presentation of details, characters, or incidents in a narrative in such a way that later events are prepared for (or "shadowed forth").
Foreshadowing
(http://grammar.about.com/od/fh/g/foreshadowingterm.htm)
A form of digital poetry that uses links using hypertext mark-up. It is a very visual form, and is related to hypertext fiction and visual
arts. The links mean that a hypertext poem has no set order, the poem moving or being generated in response to the links that the
Hyperpoetry reader/user chooses. It can either involve set words, phrases, lines, etc. that are presented in variable order, but sit on the page in the
same way traditional poetry does, or it can contain parts of the poem that move and/or mutate. It is usually found online, though CD-
ROM and diskette versions exist. The earliest date to no later than mid-1980s.
A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to the pattern of related details in a work. In some
works one image predominates either by recurring throughout the work or by appearing at a critical point in the plot. Often, writers use
Image multiple images throughout a work to suggest states of feeling and to convey implications of thought and action. Some modern poets,
such as Ezra Pound and William Carlos Williams, write poems that lack discursive explanation entirely and include only images.
(http://highered.mcgraw-hill.com/sites/0072405228/student_view0/poetic_glossary.html)
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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK
GLOSSARY
A mode of writing characterized by inventiveness of situation, perspective, or story, and distinguished from other modes such as
Imaginative writing expository and persuasive writing (http://ccat.sas.upenn.edu/~haroldfs/popcult/wrtmodes.htm). The term is often used synonymously
with "creative writing".
Intertextuality The complex interrelationship between a text and other texts taken as basic to the creation or interpretation of the text
There are several types of irony in literature. Three main types are verbal irony, dramatic irony, and situational irony. Verbal irony is the
contrast between what is said and what is meant: In other words, sarcasm. Dramatic irony is the contrast between what the character
thinks to be true and what we (the reader) know to be true. Sometimes as we read we are placed in the position of knowing more than
Irony
what one character knows. Because we know something the character does not, we read to discover how the character will react when
he or she learns the truth of the situation. Situational irony is the most common in literature. It is the contrast between what happens
and what was expected (or what would seem appropriate). (http://hrsbstaff.ednet.ns.ca/engramja/litdevic.html)
A literary or linguistic technique that produces a specific effect, esp. a figure of speech, narrative style, or plot mechanism.
Literary device
(http://dictionary.reference.com/browse/literary+device)
Refers to particular identifiable characteristics of a whole text. They are not “used”, per se, by authors; they represent the elements of
storytelling that are common to all literary and narrative forms. For example, every story has a theme, every story has a setting, every
Literary elements
story has a conflict, every story is written from a particular point of view, etc. in order to be discussed legitimately as part of a textual
analysis, literary elements must be specifically identified for that particular text.
A category of literary composition; genres may be determined by literary techniques, tone, content, or even (as in the case of fiction)
length. The distinctions between genres and categories are flexible and loosely defined, often with subgroups. The most general genres
in literature are (in loose chronological order) epic, tragedy, comedy, and creative nonfiction. They can all be in the form of prose or
Literary genre poetry. Additionally, genres such as satire, allegory, or pastoral might appear in any of the above, not only as a sub-genre, but as a
mixture of genres. Finally, they are defined by the general cultural movement of the historical period in which they were composed.
Genre should not be confused with age categories, by which literature may be classified as either adult, young-adult, or children’s. They
also must not be confused with format, such as graphic novel or picture book.
Refers to any specific, deliberate constructions, or choices of language that an author uses to convey meaning in particular way. An
author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single
Literary techniques
point in a text. Unlike literary elements, literary techniques are not necessarily present in every text; they represent deliberate choices by
individual authors.
A recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good
and evil. In the Book of Genesis, we see the motif of separation again and again throughout the story. In the very first chapter, God
separates the light from the darkness. Abraham and his descendants are separated from the rest of the nation as God's chosen people.
Joseph is separated from his brothers in order that life might be preserved. Another motif is water, seen in Genesis as a means of
Motif
destroying the wicked, and in Matthew as a means of remitting sins by the employment of baptism. Other motifs in Genesis and Matthew
include blood sacrifices, fire, lambs, and goats. A motif is important because it allows one to see main points and themes that the author
is trying to express, so that one might be able to interpret the work more accurately.
(http://www2.uncp.edu/home/canada/work/allam/general/glossary.htm#m)
The apprehension of an object, thought, or emotion through the senses; active participation in events or activities, leading to the
Sensory experience
accumulation of knowledge or skill. (http://www.thefreedictionary.com/experience)

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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK
GLOSSARY
A character, an action, a setting, or an object representing something else can be a symbol. Most often, the symbol in a story is an
object that represents its owner’s character or situation, or both. For example, a secluded, near-empty apartment might represent the
alienation and emotional emptiness of the tenant. Symbols are usually recognizable by the amount of emphasis they receive. Objects
Symbolism
intended to be viewed as symbolic may be described in detail, be included in the title, be referred to frequently, or emphasized at the
beginning or ending of the story. When we recognize a symbol and understand its meaning or meanings, we see more clearly what the
writer chose to emphasize. (http://hrsbstaff.ednet.ns.ca/engramja/litdevic.html)
Theme Assertion or argument that the literary work makes.
Typography The general character or appearance of printed matter. (http://dictionary.reference.com/browse/typography)
Literally "little vine" in French; a short composition showing considerable skill, especially such a composition designed with little or no
plot or larger narrative structure. Vignettes are often descriptive or evocative in their nature. An example would be the brief narratives
appearing in Sandra Cisneros's short stories. More loosely, vignettes might be descriptive passages within a larger work, such as Virginia
Vignette Woolf's "Kew Gardens", or Faulkner's descriptions of horses and landscapes in The Hamlet. The term “vignette” originally
comes from a decorative device appearing on a title page or at the opening chapters. Conventionally, nineteenth-century printers
depicted small looping vines here, loosely reminiscent of the vine work in medieval manuscripts.
(http://web.cn.edu/kwheeler/lit_terms_V.html)

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 K to 12 BASIC EDUCATION CURRICULUM
SENIOR HIGH SCHOOL – ACADEMIC TRACK

CODE BOOK LEGEND

SAMPLE CODE: HUMSS_CW/MP12-Ia-b-1

LEGEND SAMPLE

Humanities and Social Sciences

Track/ Strand
Strand

underscore_

First Entry HUMSS_CW/MP11/12

Track/ Strand Subject Creative Writing

Grade Level 11/12

-
Roman Numeral
*Zero if no specific quarter
Quarter Quarter I
Lowercase Letter
*Put a hyphen (-) in between letters to indicate Week Week a-j
more than a specific week
-

Differentiate imaginative writing

Arabic Number Competency
from among other forms of writing
5

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